Demonlover

One of the great things about the French is their interest and promotion of THEORY. Sometimes when theory infiltrates Art in too direct a manner the results can be boring or pretentious. In the case of demonlover neither is the case yet the end product doesn't measure up to its individual parts which are brilliant. Suffice it to say this is not a movie for the squeamish or for fans of the character building qualities of a life in business. What the film shows is how much of a construct modern identity is; how much it depends on role, on possessions, on our relationship to the pecking order of whatever tribe we find ourselves in. The film also suggests that the price we pay for hanging on to this fragile identity is nothing less than the seeds of our destruction - a doorway in fact to depression, madness and perversion. Lastly, the film is a devastating look at the way big media corporations hide their involvement in anti-social projects under the veneer of 'just business' or, if they went to the Harvard Business School, 'shareholder value'. Its a rare thing to make an interesting movie with NO sympathetic characters but demonlover achieves this. Many complaints have been launched against the incoherent plot, but the fact is that the plot is not incoherent at all, it just lacks credibility which is a different matter altogether. But no matter: its still an interesting take on a very real set of contemporary circumstances. The performances are also quite compelling which suggests that no matter how dubious a character's morality is, if she's beautiful we (men, that is) will hang on her every word.

Demonlover is in many ways an interesting movie. The French critics didn't like it, which is a reason on itself to go to see it (the French tend to praise their own stuff most of the time). So, that's what I did. And it leaves you unsettled just like Cronenberg's Crash. Same industrial 'cool' spaces, same underacted performances (Nielsen is brilliant) and all in all a plot that goes off track near the end. When you leave the theatre, you're not sure whether you've seen a good movie or not. So what is it about? Espionage, 3D Manga porn, control & controlled, torture (physically and mentally) and betrayal. Interesting stuff that keeps you hooked on the screen for the first 1,5 hour, but director Assayas overkills the last half hour by adding unnecessary plot twists, unexplained events and an ending that kinda leads to nowhere. Still, the stunning visuals and the Sonic Youth score make it all worth the visit. Also check out Assayas' Irma Vep.

I must slam this film if only to reclaim the 90 minutes or so that I cannot ever regain (I ffwd through the last half hour.) The Mrs. and I loved Irma Vep and were intrigued enough by the premise and cast of Demonlover to have a look. This film has an excellent look and feel, so you're taken in at first, until you realize there's no real reason for any of the action and you dislike all the characters, and that's just dislike, because you're not really involved enough to actually HATE them. The music selection is cool, the film even opens with a song by the legendarily obscure German band NEU! The clothes are fab, the whole thing is lit in a cool blue half the time, but the story is a wispy corporate spy drama, with its meat drawn straight from the screenplay of Videodrome. At first we thought we were enjoying ourselves, but ultimately Demonlover is a tired lay.

A propulsive narrative that thrusts the viewer head-first into a maelstrom of international intrigue. An off-handed confluence between corporate greed and dehumanizing sexual imagery that provides a damning indictment of global capitalism. A protagonist struggling with her morality in an amoral world. A punishing but thrilling rock score, courtesy of Sonic Youth. "Demonlover" is perhaps the best thriller I have seen in the past half dozen years.

For the first hour, at least.

After that, the film lapses into incoherence. No, "lapses" is the wrong word -- it purposefully and strenuously burrows ever deeper into incoherence, sequence by sequence, scene by scene. I have never seen a film fall apart so quickly and so completely. Sadder yet, it is the worst sort of failure -- a failure of nerve. Mr. Assayas seems to have lost faith in the intelligence of the audience and ends up indulging the very qualities he was critiquing -- thoughtless spectacle, facile cynicism, and the exploitation and degradation of women. A shame.

Connie Nielsen is an industrial spy, infiltrated in big international corporation searching for secret information and trying to sabotage their last project DEMONLOVER.

DEMONLOVER is the name of a web site/3D porn anime/game. Well it is never too clear what exactly it is but you have a long glimpse at what it is inside (basically violent and highly sexual anime and 3D computer generated images).

However, been an industrial spy is not as easy as it may seem, particularly when three or four corporations are competing and very unscrupulous higher minds are manipulating the game and players. Almost everybody that has or had some relation with a major corporation, knows how greed, corruption and desire for power move everything inside, so nobody will deem unrealistic when people have to die to achieve the company business plan.

During the whole setup and presentation DEMONLOVER shines as the best real world spy movie seen lately, but sadly, the second half lose strength and the story get nowhere. Some scenes and storylines have not continuity (like a piece is cut or missing during editing) and the end is disappointing and unnecessary.

The movie is however worth watching. The acting is very good and for a French movie, most actors are well known in America like Connie Nielsen or Chloe Sevigny. The music score is excellent as most technical aspects and international locations (the movie was shot in France, USA, Japan and Mexico). The story is quite original and the suspense carries you until the end. It could easily pass as a decent thriller (albeit the superb it started as).

It is worth mentioning, that some things could endanger it commercial success. There are not good guys; just bad or worse and the main characters are women (men characters are accessories here). A few people could get upset for some porn (anime and human) showed during the film, but because that part of the story occurs in Japan, the gross scenes are digitally shadowed.